Press Release: “RESIDUE”

For immediate release:                                                        October 4 – November 2, 2012

“Residue:  The work of Michael Callaghan, J.D. Hastings, and Toni Tiller”

There is an old joke once told by gritty New York painters at the expense of their West-coast brethren. As it goes the painters in California were besides themselves, lamenting that they were unable to finish their paintings. You see, the masking tape factory had burned down…

Such condescension, born of a devotion to process and drive for authenticity, is no longer relevant to today’s art world (if it ever really was at all). Separating out the use of any tool by mere geography is a fool’s errand, and a handy roll of blue painters tape is mundane for its ubiquity in any painter’s studio. But ubiquity breeds familiarity, and we know where that leads. Snark aside, as any method of producing art becomes accepted and common, a viewer will inevitably find themselves face to face with a work of art that is denuded of any mystery of conception or process. If the artist leaned too heavily on a particular crutch,  the viewer cannot help but notice when the work falls down in a jumble of straight-from-the-tube colors or brush strokes everyone can tell came from a # 4 flat. The same holds true when looking at a two inch wide stripe that demarcates a hard-edge shift in the surface or terminates in a cartoon of a jagged tear. And when a gesture or material becomes too common it becomes taken for granted. The artists exhibiting in Residue do not succumb to facile tricks, and instead approach tape as a basic tool, without taking it for granted. Their aim is to make something new with the tool without making the tool the primary focus and their approach has lead them down unique creative paths.

J.D. Hastings takes the tape fragments he uses to mask off larger paintings and recycles them into small studies, and they subsequently result in larger works quilted out of the ephemera. He sends his materials across country to Toni Tiller, who adds to and edits the patterns, building in new complexity. The finished paintings speak to the community and craft that emerged from working the soft substrates of cloth before it was incorporated into hard industrial production. Their collaboration (notably spanning coast to coast) forms a recursive loop, as tiller changes materials according to her own practice and then feeds the results back to Hastings. In the end there is no end; a single painting spawns multiple bodies of work that serve as simultaneous critique and evolution of the original.

Michael Callaghan started picking up bits and pieces of gaffers tape from the film sets he worked on, and stuck the left over strips onto plywood to make his first compositions. Building a simple, dumb activity used to pass the down time on set into a full fledged painting practice, he has removed the bright cloth colors from their coded utilitarian efficiency and brought them into the art world as an industrially derived pallet. He adds and subtracts layers to simultaneously build and excavate the surface so that it references the archeological more than the contemporary map. His surfaces speak to unearthed discoveries rather than manufacture.

Michael Callaghan lives and works in Brooklyn, New York. His work can be found at

J.D. Hastings is represented by the Firehouse Art Collective of Berkeley. His work can be found His work can be found daily at and Tuesdays at

Toni Tiller lives and works in Wilton, Connecticut. Her work can be seen at at or on Wednesdays.

Residue has been curated and organized by Brian Dupont. His work can be found at and his writings can be found on his blog ‘Artist’s Texts’ at

The Extra Gallery is an art space that occurs at odd intervals in a semi-private Chelsea location. The space is located at 635 West 27th St. Please enter the door and press the buzzer to the right to be admitted to the second floor lobby. There will be a reception for the artists on Thursday, October 11 starting at 5:30 PM.


Update: WHILE YOU WAIT has been extended!

“While You Wait: Greg Allen, Laura Isaac, Laelia Mitchell, Christopher Moss, Maritza Ruiz-Kim, and Jason Varone on the Art of the Lobby,” curated by Brian Dupont has been extended by one week thru Tuesday, November 8th.

The space may be found at 635 West 27th Street. Go in the front door and turn right. Buzz the door labeled Artex to gain admittance to the second floor lobby.

“Gallery” hours are regular business hours, 9:30am – 5:00pm. If you would like to make an appointment to see the show outside of regular business hours, you may email the curator, Brian Dupont, at briandupont [at] to set up an appointment.

Press Release: “While You Wait…”

For Immediate Release                                                       September 13, 2011

“While You Wait: Greg Allen, Laura Isaac, Laelia Mitchell, Christopher Moss, Maritza Ruiz-Kim, and Jason Varone on the Art of the Lobby,” curated by Brian Dupont

Extra Gallery NYC, October 6 – November 1, 2011

Coming off the street, climbing the stairs and through the door, you cross the small space and talk to a receptionist seated behind the desk. Appointment or no, he or she mediates access to those you are there to see, and you are invited to sit and wait in the lobby. Everyone has been in these spaces where we are asked to sit and wait, and we do so without complaint, expecting to wait even when on time for a scheduled appointment.

As there is always a place to sit in the lobby, and something set out to read, so there is always something on the walls as well. If nature abhors a vacuum, so does any transitive space; walls, carpet, and furniture are blank enough to be utilitarian, yet not inviting enough that you will regret leaving them behind when called to move on (although perhaps that depends on your reason for coming there in the first place). Usually the art is as inoffensive and bland as the rest of the décor, yet there are always exceptions.

This exhibition asks you to consider the structure of where you are sitting and what you are looking at, and by extension how you got there and what you expected to see. At the door, Christopher Moss takes the sublime intention of abstraction and reduces it to the bland and generic, having pixelated his own painting into an aggressive design and placed it on the floor so you may wipe your shoes. Similarly, Laura Isaac replaces the typical reading materials with her own limited edition artist’s magazine, titled (appropriately) Wait. The artist provides this specialty publication as a means of modifying an experience that is universal and rendering it particular. Both Greg Allen and Jason Varone address the singular window within the space; the lone source of natural light that provides little in the way of view. Greg Allen continues his investigation into Google’s Street View mapping project, using a near omnipresent digital technology with all its inherent glitches to re-envision an otherwise blank industrial view. Whereas Allen obscures the window, Jason Varone replaces and moves it, by projecting the light otherwise lost. His window is not tied to the local weather or time of day, but nonetheless contains a record of subtle events and the passage of time. Laelia Mitchell engages the enclosed receptionist, sitting behind a window that narrowly projects into the space and divides inside from the outside. She extends the metaphor to include the division and enclosure of nature by man-made structures, echoing the little bit of natural foliage the inhabitants of this office may see in their workday. And Maritza Ruiz-Kim uses a set of five paintings to bring attention to the mental shift that takes place when one enters, waits within, and then exits a space. Her layers of encaustic paint and hidden text activate the tension between space and void, opening the possibilities of how one views the waiting space.

More information about the participating artists and the curator can be found on their respective websites.

Greg Allen:

Laura Isaac:

Laelia Mitchell:

Christopher Moss:

Maritza Ruiz-Kim:

Jason Varone:

Brian Dupont:

The Extra Gallery is located in a semi-private space in Chelsea in New York City. If you would like to make arrangements to view the exhibition or would like more information, please contact Brian Dupont via email at